Michael Newton: Montgomery Clift, 7 October 2010

“... as staining the magical purity of those early performances. In The Passion of Montgomery Clift, Amy Lawrence idiosyncratically prefers those neglected post-accident films, resistant to their mood of dejection, but alive to Clift’s quieter genius. It’s a preference that fits her method. We all know about Clift; but ...”

Patricia Beer, 25 March 1993

“... not make readers fear that they are being lured to yet another study of the great man himself. Lawrence’s Women really is about the women in his life. They are not just lining the route. Neither should readers suspect that the word ‘intimate’ in the subtitle means that they are going to be told more about ...”

“... This, the third of seven volumes in the Cambridge collection, contains 942 letters written by Lawrence in something under five years. Harry T. Moore’s Collected Letters of 1962 did the whole job in less than twice as many pages, though it’s true he didn’t print quite everything; and many more letters have turned up over the last twenty years ...”

“... The lemur-student can see that an aye-aye is not an angwan-tibo, potto or loris. Amy Clampitt can probably tell an aye-aye from an angwan-tibo and might well have chosen those lines as an epigraph for The Kingfisher. Hers is a poetry of minute discriminations. Unlike those unbotanical ‘Down East people’ who talk loosely of ‘that ...”

“... girl was fascinated, as a child, by the two grotesque Miss Connors, Miss Lucy and drunken Miss Amy. When she comes home on an awkward visit from England with her short-tempered husband, he makes their little boy return Miss Amy’s gift of sweeties from her coat-pocket. He has no way of knowing how much has been ...”

“... have a misleadingly familiar ring. In 1891, Frost got himself elected to the editorship of the Lawrence, Massachusetts High School Bulletin, and his opening salute to his classmates insists that ‘this chair, when not acting as a weapon of defence, will be devoted to the caprices of its occupant.’ A fortnight before his death in 1963, he sent a message ...”

Ange Mlinko: Imagism, 25 March 2010

“... we get to Vorticism, with which Pound was hoping to render Imagism – now led by his arch-enemy Amy Lowell – passé, a question irresistibly presents itself. When a poet has made it his life’s work to change a period’s style, and pursues his aim by means of confrontation and relentless promotion of his own work and that of his coterie, does style ...”

August Kleinzahler: Ashbery’s Early Life, 20 September 2017

“... if you leave aside his father’s unpredictable, foul temper. But his maternal grandfather, Henry Lawrence, was indeed a remarkable man, a professor of physics at the University of Rochester, who had written his PhD on the new field of X-ray technology. He was also fluent in Greek and Latin and a good businessman. After his grandfather’s death Ashbery told ...”

Tessa Hadley: Pamela Hansford Johnson, 21 January 2016

“... born in 1912 and grew up the adored only child in a fractious household of women, with her mother, Amy, her aunt and grandmother. Her father, ‘R.K.’ Johnson, was a minor colonial administrator, chief storekeeper on the Baro-Kano railway (you couldn’t make this up). He was usually in Nigeria, where he never took his family, and died when Pamela was ...”

Robert Crawford: Richard Aldington, 22 January 2015

“... they can’t think why it didn’t live,’ Aldington wrote to the Imagist poet and anthologist Amy Lowell hours after the birth. ‘It was very strong but wouldn’t breathe.’ A year later he began an affair with Florence Fallas, another young mother who had lost a child. Writing of ‘forbidden caresses,/The cleft of your body,/Your closed eyes’, he ...”

Claude Rawson, 7 May 1981

“... the real Mary Lamb, though the Listener review was headed ‘Lamb’s tale from Amis’). Amy Hide, her alter ego, was quickly linked to Jekyll and Hyde. Auberon Waugh kept calling her Hyde, though the novel stuck pointedly to Hide. Paul Ableman, as you might expect, used both spellings. I can’t remember who said ...”

C.K. Stead, 27 May 1993

“... Duchamp, Brancusi), the new music (Satie, Schoenberg, Stravinsky, Scriabin), the new literature (Amy Lowell, Stein, Pound, Eliot, Joyce), and was bold enough to give a graduation address in 1915 referring to most of these and insisting on ‘the unbroken chain of artistic development during the last hall-century’ which ‘disproved the theory that ...”

“... reader back to her body in a way no other literary strategy quite does. The voices of Ronell and Lawrence Rickels are the driest in Lust for Life: Ronell’s because she articulates her grief over a friend’s loss in etiolated academic language interspersed with lachrymose, though sincere, intertitles; Rickels’s because, as a psychoanalyst, he is the sole ...”

John Barrell: Late Turner, 18 December 2014

“... lesser artists submit.’ Painting set free. That phrase, the subtitle of this exhibition, was Lawrence Gowing’s, who about fifty years ago came up with the claim that Turner was the first modern artist, perhaps the first abstract expressionist. His view of Turner was based on the recovery of works left rolled up in his studio when he died, kept in ...”

“... and Aaron Douglas was making prints and paintings. Not only that, but Romare Bearden and Jacob Lawrence, two of the most distinguished African American painters, lived until 1988 and 2000 respectively; landmark retrospectives were held for Bearden at MoMA in 1971, and Lawrence at the Whitney in 1974. Were the writers not ...”